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SYAIR and PANTUN PROSODY* Phillip L. Thomas Many

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SYAIR and PANTUN PROSODY* Phillip L. Thomas Many SYAIR AND PANTUN PROSODY* P h illip L. Thomas Many characteristics of the Malay syair and pantun I i cl V 6 bsCCiiic standard items in handbooks and textbooks concerned with classical Malay literature.1 These works uniformly agree that the syair con­ sists of a series of quatrains containing an ongoing story. The final syllable of each line (k e r a t) w ith in a stanza (b a it or rangkap or u n ta i) rhymes with every other final syllable of that stanza (aaaa, bbbb, ....). Furthermore, the line generally consists of four words with a more or less definable caesura (geda) after the second word. The pantun has all the features of the syair quatrain except that the final rhyme is of the abab type,2 and there is often an alternating internal rhyme (cdcd) between the precaesural syllables. Although pantuns may be linked to form a pantun sequence, most are independent. Also, pantuns may range from two to twelve lines although these are rarer than the four-line variety. The primary difference separating the syair form from that of the pantun, however, is that while the syair has a continuous story throughout the quatrain--and between quatrains--the pantun divides into two parts, the first half (pembayang maksud) having specific, concrete images3 to describe nature or the human w orld, the second h a lf ('maksud) using abstract words to state an observation or maxim.4 *1 am very grateful for the assistance given to me by Dr. Malcolm W. Mintz and Puan Rosenah Ahmad, both of the Language Unit of the Universiti Sains Malaysia, and by Miss Tang Wan Fong of the USM library. Dr. Amin Sweeney and Professor A. Teeuw have helped in providing references and materials while Drs. Cornelius Simoons has generously consulted with me on Dutch materials. ^ee "Bibliographical Note" at the end of this article. 2Ali Ahmad, Asas Menganalisa Sagak (Kuala Lumpur: Fajar Bakti, 1971), pp. 4-6; Annas Haji Ahmad, Sastera Malayu Lama (Penang: Saudara Sinaran, 1966), pp. 49, 70; Harun Aminurrashid, Kagian Puisi Melayu (Singapore: Pustaka Melayu, 1960), pp. 19-22, 45-47; Mohd. Taib Osman, ed., Warisan Puisi Melayu (Kuala Lumpur: Dewan Bahasa dan Pustaka, 1975), pp. 1-4, 35-39; Omardin Haji Asha’ari, Kagian Pantun Melayu (Singa­ pore: Malaya Publishing House, 1961), p. 24; Pantun Melayu, ed. R. J. Wilkinson and R. 0. Winstedt (Singapore: Malaya Publishing House, 1961), pp. iii-xv, 183-204; Sir Richard Winstedt, A History o f Classical Malay Literature (Kuala Lumpur: Oxford, 1969), pp. 190, 193-95; and Dr. Haji Zaba, Ilmu Mengarang Melayu (Kuala Lumpur: Dewan Bahasa dan Pustaka, 1965), pp. 221-24. Specific terminology varies: M. Taib Osman, Warisan, pp. 35-36, uses bait or bait rangkap as meaning a four-line stanza while Kamus Dewan under "rangkap" says that a rangkap equals two bait or four lines. What is important here is that different terms are used for modern poetry than are used for syairs and pantuns. I cite here only Malaysian terminology. 3By an image I mean words for specific objects or motions which the senses can perceive. 4For example, Budi yang baik dikenang gua (only good character is remembered). 51 52 Amin Sweeney has argued that syair and pantun line structures are identical.5 He has also shown that the basis of syair lines is not a system of quantitative meter.6 What the basis of syair and pantun prosody is, however, has not yet been satisfactorily shown. The hand­ books make two assertions about the nature of syair and pantun lines, but these claims are vague and often incorrect. C. Hooykaas, for example, has claimed that every line has four words and that the line must have from eight to eleven or twelve syllables.7 The unsatisfac­ tory nature of his definition is suggested by the term "eleven or twelve syllables,1’ for the extent of possibilities given argues that the basis for the line is still unknown. It is also clear that these two rules are not independent, because without affixation Malay words are predominantly disyllabic.8 To write a four-word line with two monosyllables and no affixation would be difficult,'if not impossible, because of the few monosyllabic words in Malay. A four-word line with one affixed word and one monosyllabic word already satisfies the rule of having eight to twelve syllables. Generally, any other combination of four words also satisfies this rule as it is equally difficult to write lines where all words are multiplely affixed. Because of the linguistic character of the Malay language, the second rule, then, is a natural result of the first. As a definition, it is not useful for articulating the prosody of syair and pantun lines. These two commonly asserted rules fail in their descriptive accu­ racy. There are numerous lines, such as the following, which fulfill the syllable-count rule, trespass the word-count rule, and yet are apparently well within the limits of acceptability for syair lines: (1) SKT I.16.D memberi hati bimbang dan rawan9 I .29.A berkamar ikatan Melayu The syllable-count rule, while generally describing syair and pantun lines because of the breadth of its inclusion, nonetheless has its exceptions: 5Amin Sweeney, "Some Observations on the Malay Shafir ,” Journal of the Malayan Branch of the Royal Asiatic Society (henceforth JMBRAS) 9 44, 1 (1971), p. 61; A. Teeuw, "The Malay Shafir: Problems of Origin and Tradition," Bijdragen tot de taal-, land- en volkenkunde (henceforth BKI), 122 (1966), pp. 431-32. 6Sweeney, "Some Observations," pp. 60-61. C. Skinner, Sjarir Rerang Mengkasar3 Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde [hence­ forth VKI] 40 (The Hague: Nijhoff, 1963), p. 65. 7C. Hooykaas, Perintis Sastera (Kuala Lumpur: Oxford, 1967), pp. 8, 73. He defines a seloka as a pantun having an aaaa final rhyme pattern (p. 84). 8A. Teeuw, Taal en Vershouw Rede . aan de Rijksuniversiteit te Utrecht op 19 Mei 1952 (Amsterdam, 1952), p. 10, has neatly shown that the syllable count system is a result of a word-based verse. He argues for a line consisting of four words, but also points out a number of short words which are not to be counted and some words of four or more syllables (e.g., permaisuri) are counted as two (permai and suri). 9All syair lines are taken from the Shair Ken Tambuhan,, ed. A. Teeuw (Kuala Lumpur: Oxford University Press and University of Malaya Press, 1966). Capital Roman numerals indicate chapters; Arabic numerals, quatrains; and Roman letters, lines. All pantuns are taken from Pantun Melayu, ed. Wilkinson and Winstedt (see note 2). Arabic numbers indicate the pantun, and Roman letters denote the lines. 53 (2) I.2.D segala yang mendengar belas dan kasihan I.15.D dilebihkan daripada segala para puteri 182.C dunia nak kiaraat It might be fairly asked why the rule should not be expanded to read "Every line has from seven to sixteen syllables." Whatever the word­ ing, the rule is too broad to explain the basis of the lines it pur­ ports to describe. The four-word and syllable-count rules, however, suffer more from their inadequacy than from their inaccuracy, since it is possible to write unacceptable lines by following these rules. Placing two mono­ syllabic words in adjacent positions on one side of the caesura or constructing a line with five disyllabic words is apparently not acceptable in syairs, yet some lines have two monosyllabic words and many have five words. The prosody of the syair and pantun, therefore, has not been sufficiently described. The possible models of prosody are not unlimited: accentual (e.g., English), quantitative (Latin, Arabic10), syllabic (Japanese h a ik u ), syllabic and tonal (Chinese lu sh ih poems11), etc. Each of these prosodic forms can be described by precise rules which may be broken only with prescribed variations. Something similar to these forms should be sought for the syair and pantun. I have tried to argue that the presently accepted rules for syair and pantun lines are too inaccurate to distinguish between correct and incorrect lines and do not provide a sufficient description of the basis of their prosody. In the rest of this study I will examine the first three chapters of the Syair Ken Tambuhan (SKT), an early work dating from somewhere between the fifteenth and seventeenth centuries.12 These three chapters consist of 44, 50, and 130 quatrains or a total of 896 lines. Second, I will examine the first 210 pantuns (840 lines) found in Wilkinson and Winstedt's Pantun Melayu .13 * This 1914 collec­ tion is early enough to avoid being influenced by present-day theories about Malay prosody and also has the advantage of providing a good geographical and historical distribution in its selection.11* With these two bodies of data I will demonstrate that syair and pantun pro­ sody is based on a system of four word clusters per line. Furthermore, the syair, as represented by the SKT, differs from pantuns according to the kinds of allowable exceptions to the standard line. The first chapter of the Syair Ken Tambuhan has 176 lines (44 stanzas) of which the majority have four words, according to the system 10Sweeney, "Some Observations," pp. 60-61; Teeuw, Taal, p. 3. ^See Ch'en Shou-yi, Chinese Literature: A Historical Introduction (New York: Ronald Press, 1961), pp. 232-34. 12Teeuw, SKT, pp. xxxiii-xxxiv. 13It is unfortunate that current practice is for collections and anthologies not to state the origin of their pantuns. Wilkinson and Winstedt's anthology is the only major exception.
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